The Year of Living Dangerously

Based on the novel by Christopher Koch, The Year of Living Dangerously is the story of a group of foreign correspondents who report the chaos in 1965 Indonesia where two reporters engage into an affair during the event. Directed by Peter Weir and screenplay by Weir and David Williamson, the film follows the chaos of the events of September 1965 in Jakarta at a time during an attempted coup where foreign reporters try to understand what is going on. Starring Mel Gibson, Sigourney Weaver, Linda Hunt, Bill Kerr, Michael Murphy, and Noel Ferrier. The Year of Living Dangerously is a riveting and evocative film from Peter Weir.

Set during the events of 1965 in Jakarta amidst a growing division in politics, the film revolves around an Australian journalist who goes to the city to cover the events with the aid of a Chinese-Australian dwarf while falling for an assistant to a revered British official. It’s a film that play into a lot of drama that occurs in Indonesia during a tumultuous period of civil and social unrest where foreign correspondents try to understand what is going on as they’re aided by this dwarf who knows what is happening but is also trying to carry a sense of hope for Indonesia. The film’s screenplay by Peter Weir and David Williamson is told mainly from the Chinese-Australian dwarf Billy Kwan (Linda Hunt) as he lives in Jakarta and knows what is happening as he would be a guide for the Australian journalist Guy Hamilton (Mel Gibson) who is reporting for an Australian network.

Hamilton is just among a group of reporters trying to cover this chaos in Jakarta and other parts of Indonesia as they also try to find time to relax and enjoy the local scene that include parties at other foreign embassies. When he meets Jill Bryant (Sigourney Weaver) at the British embassy as she’s an aide for the diplomat Colonel Henderson (Bill Kerr), he is smitten by her where he turns to Kwan for help as he has information on everyone which makes Hamilton uneasy. Still, Kwan is able to get Hamilton contacts with those who are involved in this conflict but has a hard time trying to understand what is going on just as he’s being torn in his job and his growing love for Bryant. It would later get more dangerous for Hamilton as he gets a scoop that ends up being a major revelation about what is really happening in Indonesia.

Weir’s direction is definitely entrancing for many of the visuals that he is able to capture as well as setting during a tumultuous moment in time. Shot on various locations in Australia and the Philippines, Weir’s direction definitely captures an intimacy into the marches and protests that emerged on the streets as well as the scenes at the rural areas in the city or outside of the city. Weir does display that disconnect of how foreigners who live in comfortable hotels and posh embassies while the locals are struggling to get by as they live in decayed homes on the streets or near river canals with polluted water. Weir would use the wide and medium shots to capture the chaos of the protests as well as a look into the landscapes outside of Jakarta. Weir would also use the medium shots and close-ups for scenes involving the characters as they all talk about their assignment or relaxing at a party.

Even in some of the intense moments in the film where it play into that disconnect of what is happening in Jakarta and at these embassies where Hamilton and Kwan do get a closer look as the latter knows what is happening as there is an element of disillusionment that would occur in the third act. Even as the chaos really starts to come ahead forcing Hamilton to come to terms with what is really happening and face some harsh truths about the world’s influence in Indonesia. Overall, Weir crafts a gripping and haunting film about a foreign correspondent covering the chaotic events of Indonesia in the mid-1960s.

Cinematographer Russell Boyd does brilliant work with the film’s cinematography as it play into the naturalistic daytime exteriors of the countryside locations while maintaining something gritty and direct for the scenes set in the streets for the day and nighttime. Editor William M. Anderson does excellent work with the editing as it uses rhythmic cuts to play into the drama and suspense along with a surreal montage that plays into a nightmare sequence for Hamilton. Art director Herbert Pinter does fantastic work with the look of Kwan’s home in Jakarta to play into the wallpaper of pictures and such that is similar to the home of the locals which is a sharp contrast to the spacious and comfortable hotel rooms and suites that the foreign correspondents live in. Costume designer Terry Ryan does nice work with the costumes as it is largely casual with the exception of the colorful shirts that Kwan wears that contrasts the more posh look of some of the foreigners including Bryant.

Special makeup effects designers Judy Lovell and Bob McCarron do amazing work with the look of Kwan in its attention to detail to make the character look manly but also full of life. Sound editor Andrew Steuart does superb work with the sound as it play into the intense atmosphere of the protests and marches on the streets as well as the eerie calm for the scenes in the countryside outside of Jakarta. The film’s music by Maurice Jarre does incredible work with the film’s score as it mixtures elements of orchestral music with traditional Asian string pieces to play into some of the suspense and drama while the music soundtrack consists a mixture of pieces ranging from classical, rock n’ roll, pop, and other music from Richard Strauss, Little Richard, Jerry Lee Lewis, Vera Lynn, Vangelis, Gene Vincent, and Jimmy Reed.

The film’s wonderful cast include some notable small roles from Ali Nur as Hamilton’s driver, Mike Emperio as the Indonesian president Sukarno, Noel Ferrier and Paul Sonkkila as a couple of foreign correspondents in their respective roles in Wally O’Sullivan and Kevin Condon, Kuh Ledesma as a secretary working for Hamilton and Kumar, and Bembol Roco in a terrific performance as Hamilton’s assistant Kumar who is an Indonesian that has a full understanding of what is going on as he shows Hamilton the chaos of what is happening as well as his own political allegiance. Michael Murphy is superb as the American journalist Pete Curtis who is a rival of sorts for Hamilton as he is more interested in having a good time rather than do his job. Bill Kerr is fantastic as Colonel Henderson as a British diplomat living in Jakarta who is more concerned with maintaining a social status and ensuring Britain’s influence on Indonesian politics rather than help out the people of Indonesia.

Sigourney Weaver is brilliant as Jill Bryant as Colonel Henderson’s assistant who falls for Hamilton though not initially as she is also a friend of Kwan where she understands what is happening and tries to give Hamilton a scoop which would serve as a plot point for the film. Linda Hunt is tremendous as Billy Kwan that has Hunt play a Chinese-Australian dwarf who is a guide for Hamilton while having his own personal interest for the people in Jakarta where he deals with the chaos as well as the empty promises of those in power as it is a defining performance for Hunt. Finally, there’s Mel Gibson in an amazing performance as Guy Hamilton as an Australian reporter covering the events as he’s torn in his job and his love for Bryant where he is forced to see some of the realities of what is happening instead of providing an angle for those with influence.

The Year of Living Dangerously is a phenomenal film from Peter Weir that features great performances from Mel Gibson, Sigourney Weaver, and Linda Hunt. Along with its gorgeous visuals, Maurice Jarre’s haunting score, and its look into an unruly conflict seen from outsiders trying to make sense of everything. It’s a film that play into the chaotic events of mid-1960s Indonesia and its attempt to stray from the influences of the Western world seen from those who unknowingly created that sense of civil disobedience. In the end, The Year of Living Dangerously is a sensational film from Peter Weir.

Peter Weir Films: (3 to Go-Michael) – (Homesdale) – (Whatever Happened to Green Valley?) - (The Car That Ate Paris) – Picnic at Hanging Rock - (The Last Wave) – The Plumber (1979 TV film) - Gallipoli - (Witness) – (Mosquito Coast) – Dead Poets Society - (Green Card) – (Fearless) – (The Truman Show) – Master and Commander: Far Side of the World - The Way Back

© thevoid99 2018

Brewster McCloud

Directed by Robert Altman and written by Doran William Cannon, Brewster McCloud is the story of a recluse who lives in a shelter at the Houston Astrodome as he dreams of wanting to fly where he would create a flying machine. The film is an offbeat comedy that plays into a young man wanting to do the impossible as it mixes fantasy and reality into this man’s desire to fly. Starring Bud Cort, Sally Kellerman, Michael Murphy, Rene Auberjonois, Stacy Keach, Margaret Hamilton, Jennifer Salt, and introducing Shelley Duvall. Brewster McCloud is a witty and whimsical film from Robert Altman.

The film is about a young recluse who yearns to fly as he creates a flying machine that would give him the chance to fly as he would deal with others who threaten him leading to a murder investigation led a detective from San Francisco. Set entirely in the city of Houston with the Astrodome in the center of the story, the film follows this titular character (Bud Cort) as he is trying to get an idea of how to fly with these wings he created. The film’s screenplay by Doran William Cannon sets up the main premise yet much of the film is improvised by director Robert Altman who would include small subplots into the film as it relates to Brewster McCloud.

Popping up every now and then is a lecturer (Rene Auberjonois) talking about birds and their wings while another subplot involves this detective in Frank Shaft (Michael Murphy) who arrives from San Francisco to investigate these mysterious murders as the one key evidence in these killings are bird shit. McCloud would try to mind his own business despite being aided by a mysterious woman in a trench coat named Louise (Sally Kellerman) and getting the attention of a tour guide in Suzanne (Shelley Duvall). Still, he is determined to prove that man can fly no matter what obstacles he faces.

Altman’s direction is offbeat as it opens with a band rehearsing the American national anthem until its singer (Margaret Williams) stops it because the band was off-key prompting to start all over again with the opening credits appearing once again. Shot on location in Houston, Texas and in and out of the Astrodome, the film does play into this strange mixture of fantasy and reality as it relates to what Brewster is trying to do in being able to fly. Yet, he also has to make a living as he would be first seen being a chauffeur to a miserly old man (Stacy Keach) while he also deals with an off-duty narcotics officer who tries to plant drugs on him at the zoo. Both men would meet their fate in bizarre ways as it adds to the film’s offbeat tone. Much of Altman’s direction is loose as he does use wide shots to get a look of the locations as well as shots inside the Astrodome. There are also some medium shots and close-ups that play into the characters and their interaction with a location including a scene of Brewster hiding from a security guard where he finds himself party of a touring group.

The film also play into these offbeat moments that happen as if something else is happening during a key scene which adds to Altman’s approach to the story as it play into so much that is happening including overlapping dialogue that would become a trademark of Altman’s style. Even as there is this car chase during the third act where it’s a riff of the car chase in some respects but also play into this confrontation with reality for some of the characters. The film’s climax is about Brewster’s flight and everything he thought about into his attempt to fly and what he would do to make this dream happen just as discoveries are made about these bizarre murders. Overall, Altman crafts an odd yet rapturous film about a young recluse wanting to fly inside the Astrodome.

Cinematographers Lamar Boden and Jordan Cronenweth do excellent work with the film’s cinematography to capture the sunny look of the daytime exterior scenes in Houston as well as the interiors for some scenes at night as well as the interiors of the Astrodome. Editor Lou Lombardo does brilliant work with the editing with some stylish jump-cuts to play into the humor and parts of the suspense as well as some playful montages that play into the bits of fantasy colliding with reality. Art directors E. Preston Ames and George W. Davis, with set decorators Robert R. Benton and Hugh Hunt, do fantastic work with the look of the shelter that Brewster lives in as well as the home of some of the victims along with the place that Suzanne lives in that she takes Brewster too.

Special makeup effects artist/wing designer Leon Ericksen does amazing work with the look of the old man that Brewster works for early in the film as well as the design of the wings. The sound work of William L. McCaughey and Harry W. Tetrick do superb work with the sound as it help capture the sound of the crowd as well as the atmosphere of the stadium when it isn’t full as well as some of the film’s natural elements. The film’s music by Gene Page is terrific for its playful orchestral score with elements of folk and country that include some original songs by John Phillips that play into the sense of adventure.

The casting by Gary Chason is wonderful that include some notable small roles from G. Wood as a skeptical police captain in Crandall who isn’t fond of Shaft, Bert Remsen as the corrupt narcotics officer Breen, John Schuck as the officer Johnson who helps out Shaft, William Baldwin as Suzanne’s boyfriend Bernard who works for the top police official Weeks, Stacy Keach as a stingy and cruel old man who collects money from old folks home in Abraham, Corey Fischer as an officer who helps Crandall, Margaret Hamilton as a singer in Daphne Heap that is cruel to the band playing for her, and Jennifer Salt as a young woman named Hope who helps out Brewster while also being sexually attracted to him. Rene Auberjonois is fantastic as the lecturer as this mad professor who talks about birds and their power in a comical way while William Windom is terrific as the top police official Haskell Weeks who hires Shaft to investigate while trying to smooth things over within the city.

In her film debut, Shelley Duvall is excellent as Suzanne as a tour guide for the Astrodome that meets Brewster when he’s trying to steal her car as they evade the police while learning about what Brewster is doing. Michael Murphy is brilliant as detective Frank Shaft as a man with piercing blue eyes who lead the investigation over these bizarre murders as he’s an offbeat man that is trying to investigate the case where he is the closest to anyone getting any answers of what is going on. Sally Kellerman is amazing as Louise as this mysterious woman who helps Brewster in his quest as she is this caretaker of sorts while also giving him advice on what to do to achieve his dream. Finally, there’s Bud Cort in a marvelous performance as the titular character as this young man that is wanting to fly as it’s an odd performance of a kid who is shy and reclusive yet is so determined to wanting to fly.

Brewster McCloud is an incredible film from Robert Altman. Featuring a great cast, an offbeat premise, dazzling visuals, and humorous moments that play into the film’s mix of reality and fantasy. It’s a film that definitely displays Altman’s unique vision in telling a story in an unconventional manner while playing up the ideas of fantasy and reality. In the end, Brewster McCloud is a sensational film from Robert Altman.

Robert Altman Films: (The Delinquents) – (The James Dean Story) – Countdown (1968 film) - (That Cold Day in the Park) – M.A.S.H. - McCabe & Mrs. Miller - (Images) – Thieves Like Us - The Long Goodbye - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull's History Lesson - 3 Women - (A Wedding) – (Quintet) – (A Perfect Couple) – (HealtH) – Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) – (Streamers) – (Secret Honor) – (O.C. and Stiggs) – Fool for Love - (Beyond Therapy) – (Aria-Les Boreades) – (Tanner ’88) – (Vincent & Theo) – The Player - Short Cuts - Pret-a-Porter - (Kansas City) – (The Gingerbread Man) – Cookie's Fortune - Dr. T and the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) – A Prairie Home Companion

© thevoid99 2018

Countdown (1968 film)

Based on the novel The Pilgrim Project by Hank Searls, Countdown is the story of two American astronauts competing with one another in a crash project to see who can become the first man to walk the moon during the space race against the Soviet Union. Directed by Robert Altman and screenplay by Loring Mandel, the film is an exploration into the real-life space race that was happening in the 1960s where two men do what it takes to make history. Starring James Caan, Robert Duvall, Joanna Moore, Barbara Baxley, Michael Murphy, and Ted Knight. Countdown is a by-the-numbers and dull film from Robert Altman.

The film revolves around the space race to see who can become the first man to walk on the moon as a veteran astronaut is forced to train a civilian after learning that the Soviets have put a civilian for their first mission to land on the moon. It’s a film with a simple story that follows what happens during a mission training where a man is given the chance to go on the moon despite his inexperience as an astronaut but has to endure a lot of pressure. While the plot itself is unique, it’s Loring Mandel’s script that unfortunately suffers as it doesn’t really do much to be engaging in terms of the story as it is quite predictable while not doing enough to play into the tension between the civilian Lee Stegler (James Caan) and the veteran astronaut Chiz (Robert Duvall) as the former feels bad that he’s taking Chiz’s spot. Adding to the drama are the politics behind the scenes at NASA as well as what his happening at home as Lee’s wife Mickey (Joanna Moore) wonders what could go wrong leading up the mission at hand.

Robert Altman’s direction is definitely very straightforward though it does bear a few elements that would be key to the style that Altman is known for. While the few stylistic moments such as a few close-ups and moments at a party where Altman would put in bits of over-lapping dialogue. Much of it has Altman just using a lot of wide and medium shots to capture some of the locations around Florida with the scenes on the moon shot at the Mojave Desert with some visual effects as it has moments that are gorgeous. The problem is that the script Altman is given doesn’t do anything to give the film any kind of looseness as it just feels by-the-book in what to do as Altman was fired during production of the film. It does feel like that a lot of the film was handled in post-production as it just goes for something that is straightforward yet doesn’t do enough to make it engaging which hurts the film and slows it down to the point that it becomes quite boring. Overall, Altman ends up making a film about astronauts trying to go into the moon into something that is dull to watch.

Cinematographer William W. Spencer does excellent work with the film’s cinematography from the sunny look of the daytime exteriors to the usage of lighting and filters for some of the scenes on the moon. Editor Gene Milford does nice work with the editing as it has bits of slow-motion cuts as much of it is straightforward. Art director Jack Poplin and set decorator Ralph S. Hurst do fantastic work with the look of the crash station and simulators at NASA as well as the space capsule. The sound work of Everett A. Hughes is terrific as it play into the atmosphere at the simulators as well as the way rocket sounds from afar. The film’s music by Leonard Rosenman is good for its orchestral flourishes though there’s moment where it acts as a dramatic or a suspenseful crutch where it does become overwhelming.

The film’s brilliant cast include some notable small roles and appearances from Bobby Riha as Lee and Mickey’s son Stevie, Michael Murphy as a fellow astronaut in Rick, Steve Inhat as a NASA official in Ross, Barbara Baxley as Chiz’ wife Jean, Charles Aidman as a NASA director/doctor in Gus, and Ted Knight as the NASA press secretary/official Walter Larson. Joanna Moore is excellent as Lee’s wife Mickey as a woman who is dealing with some of the problems going on at NASA as she wonders if her husband will survive as well as the idea of things going severely wrong. Robert Duvall is brilliant as Chiz as an Air Force colonel-turned-astronaut who becomes reluctant in training Lee as he is filled with jealousy but is forced to swallow his pride to help Lee knowing that he might not have a chance to walk on the moon. Finally, there’s James Caan in an amazing performance as Lee Stegler as a civilian who has some training in being an astronaut as he endures the pressure of what he has to do while knowing the dangers he is facing as it’s a very reserved performance from Caan.

Despite solid performances from James Caan and Robert Duvall as well as some nice visuals, Countdown is just a terrible film from Robert Altman though it’s not really his fault. For a film about the space race of the 1960s, it’s very boring as it doesn’t really do anything new while it bear little touches of what Altman is known for as fans of his work will see this as just one of his bad films before he would become the great filmmaker that’s been lauded for so many years. Countdown is just a drab and uninteresting film from Robert Altman.

Robert Altman Films: (The Delinquents) – (The James Dean Story) – (That Cold Day in the Park) – M.A.S.H. - Brewster McCloud – McCabe & Mrs. Miller - (Images) – The Long Goodbye - Thieves Like Us – California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson – 3 Women - (A Wedding) – (Quintet) – (A Perfect Couple) – (HealtH) – Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) – (Streamers) – (Secret Honor) – (O.C. and Stiggs) – Fool for Love - (Beyond Therapy) – (Aria-Les Boreades) – (Tanner ’88) – (Vincent & Theo) – The Player - Short Cuts - Pret-a-Porter - (Kansas City) – (The Gingerbread Man) – Cookie's Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) – A Prairie Home Companion

© thevoid99 2017

Private Parts

Based on the book by Howard Stern, Private Parts is the story of shock-jock radio personality Howard Stern and his metaphoric rise into becoming the king of American radio through his controversial antics and no-holds-barred attitude. Directed by Betty Thomas and screenplay by Len Blum and Michael Kalesinko, the film is a dramatized take on Stern’s life from his early days trying to make it in radio to his success in being outlandish as he would spar with bosses from NBC. At the same time, the film explores Stern’s first marriage to Alison whom he was devoted to as Stern plays himself as associates such as Robin Quivers, Fred Norris, Jackie Martling, and Gary Dell’Abate also play themselves. Also starring Mary McCormack, Carol Alt, Michael Murphy, Allison Janney, and Paul Giamatti. Private Parts is a very raunchy yet hilarious film from Betty Thomas.

The film is dramatization into the life of Howard Stern as it’s told by the man himself as he deals with his success but also the radio personality that he created that has polarized people. A personality that isn’t afraid to speak his mind as well as not be afraid to be offensive and crass as he would tell his story on a flight home after the 1992 MTV Video Music Awards where he introduces his Fartman character to the delight of audiences but the disgust of celebrities. The film’s narrative is sort of a reflective one as it’s told by Stern from his childhood where he struggled to find a voice as he’s often told to shut by his father Ben (Richard Portnow) as well as trying to get laid where he would eventually meet his first wife Alison (Mary McCormack). After some early struggles and setbacks, Stern would eventually find his voice with the help of comedian/sound effects man Fred Norris and news anchor Robin Quivers who would help make him successful. It’s a film that really plays into a man trying to find himself and unleash all of his frustrations into a personality he would create for radio.

The film’s screenplay sort of moves back and forth with comments from Alison and Robin Quivers while there’s also moments that involve Stern’s longtime producer Gary Dell’Abate to help structure the story with some of Stern’s other strange guests to introduce some chapters into his life. Its first half plays into Stern’s childhood as well as his insecurities as a teenager as well as meeting Alison and Fred Norris as the latter would help hone Stern’s act through sound effects and material. The second half introduce Quivers to the story where she would become Stern’s voice of reason as well as reveal the kind of things Stern would say on the air including aspects of his personal life much to Alison’s dismay. Its third act would have Stern, Alison, Quivers, and Norris move to New York City to be part of WNBC where Stern would spar with his new bosses including Kenny Rushton (Paul Giamatti) whom Stern would refer to him as “Pig Vomit” on the show. All of which plays into Stern’s refusal to defy the censors to say what he needs to say.

Betty Thomas’ direction is very simple in the way she plays into Stern’s life where there’s moments that the fourth wall is broken such as the first scene of Stern as a college student where Stern himself is playing his old college version. It adds to the offbeat quality of the film as Quivers and Norris are also playing younger versions of themselves as much of the story is set in the late 1970s and early 1980s. Many of the compositions are simple as Thomas is more concerned with laying out the comedy while keeping the crassness to a minimum. Still, there’s elements of shock and low-brow antics that do keep things lively including scenes of Pig Vomit running through the halls during Stern’s broadcast. There’s also moments of style in a few slanted angles to play into Stern’s attempt to win over the suits at WNBC. The usage of tracking shots in the office scenes help play into the tension where it’s about Stern trying to not make any compromises and the people at WNBC trying to get rid of him. Overall, Thomas creates a very captivating and entertaining film about the life of Howard Stern.

Cinematographer Walt Lloyd does excellent work with the film‘s cinematography with some low-key lighting schemes for some of the film‘s nighttime interior scenes while it‘s mostly straightforward in its day and nighttime scenes. Editor Peter Teschner does superb work with the editing as it‘s straightforward while it features a few montages as well as a few jump-cuts to play into the film‘s humor. Production designer Charles Rosen, with set decorator Beth Kushnick and art director Rick Butler, does fantastic work with the look of the WNBC offices and studio as well as the different radio stations Stern would work for.

Costume designer Joseph G. Aulisi does terrific work with the costumes to play into the different look of the characters from the 1970s to the 1980s. Hair designer Colleen Callaghan does brilliant work with the design of Stern‘s different hairstyle throughout the years as well as Quivers‘ hair style during those early years with Stern. Sound editor John Dunn does work with the sound from the way Fred Norris creates his sound effects to some of the moments that play out on the radio and with the crowds. Music supervisor Peter Afterman does an amazing job in creating a soundtrack filled with a lot of rock music from the Cars, Van Halen, David Bowie, Marilyn Manson, Stern with the Dust Brothers, Rob Zombie, Porno for Pyros, Deep Purple, Green Day, the Ramones, Cheap Trick, Ted Nugent, and AC/DC who makes a special appearance in the film.

The casting by Olivia Harris and Phyllis Huffman is incredible as it features cameo appearances from John Stamos, Ted Nugent, MC Hammer, Ozzy Osbourne, Blues Traveler, former Guns N’ Roses guitarist Slash, Dee Snider, Flavor Flav, and Tiny Tim for the MTV Awards sequence plus Mia Farrow and David Letterman as themselves along with Stern associates in Crackhead Bob, Nicole Bass, and Stuttering John Melendez. Other notable appearances include such adult/porn star actresses like Amber Smith as a lesbian Stern interviews in D.C., Janine Lindemulder as a camp director’s wife Smith talks about, Camille Grammer as a woman wearing a bikini in the snow, and Jenna Jameson as a naked woman who appears in a show for Stern during his WNBC days.

Other noteworthy small roles include Leslie Bibb as a WNBC tour guide, Edie Falco as a friend of Alison, Michael C. Gwynne as a Detroit rock DJ who insults Stern, Paul Hecht as a news anchor who briefly replaces Robin, Allison Janney as a D.C. radio boss who dislikes Stern, Carol Alt as a woman Stern meets on a plane in the film’s beginning, Reni Santoni as a NBC radio boss, Michael Murphy as the head of WNBC who wants to get rid of Stern, and in the trio of the younger versions of Stern, there’s Bobby Boriello, Michael Maccarone, and Matthew Friedman who play the different versions of the young Stern. Richard Portnow and Kelly Bishop are wonderful as Stern’s parents with Portnow being the funny one who keeps telling the young Howard to shut up. Stern associates Gary Dell’Abate and Jackie Martling are terrific as themselves with Dell’Abate trying to get people to introduce the chapters while Martling arrives in WNBC as a new collaborator for Stern.

Fred Norris is fantastic in a version of himself as this oddball comedian who helps Stern out with his routine by creating sound effects and other things that would be very funny. Mary McCormack is brilliant as Alison Stern as the wife who would support him as well as endure some of his crass jokes which would upset her but understands his need to vent. Robin Quivers is amazing as the woman who would be Stern’s conscience in his talk show as well as say some funny things as she brings a lot of personality and wit to her persona. Paul Giamatti is phenomenal in his breakthrough role as Kenny “Pig Vomit” Rushton as a WNBC suit who tries to break Stern and mold him into something safe as it’s a performance that is very funny in the way he becomes a foil for Stern and his gang. Finally, there’s Howard Stern in a remarkable performance as himself as he displays some humility and sensitivity for the scenes outside of the radio while being very crass when he’s on the radio as he has this nice balance to showcase who he is and be unapologetic about it.

Private Parts is a sensational film from Betty Thomas about the infamous yet funny radio shock-jock Howard Stern as the man himself gives a great performance. Along with some amazing supporting performances from Robin Quivers, Mary McCormack, Fred Norris, and Paul Giamatti. It’s a film that isn’t afraid to be out there and even be politically incorrect as it relates to who Stern is and why he is so controversial. In the end, Private Parts is a gloriously hilarious film from Betty Thomas.

© thevoid99 2015

Away From Her

Originally Written and Posted at Epinions.com on 10/2/07 w/ Additional Edits & Revisions.

Based on the short story The Bear Came the Mountain by Alice Munro, Away from Her is the story of a couple's blissful life is changed when the woman suffers from Alzheimer's disease as her husband copes with the changes as he takes her to a nursing home. Written for the screen and directed by Sarah Polley, the film is an exploration into the world of Alzheimer's disease where a man tries to deal with his wife's illness. Starring Julie Christie, Gordon Pinsent, Olympia Dukakis, Kristen Thomson, Michael Murphy, and Wendy Crewson. Away From Her is a startling yet enchanting film from Sarah Polley. 

The film is an exploration into the life of a couple where a woman starts to lose her memory as she is suffering from Alzheimer's disease as her husband tries to cope with the disease as he reluctantly takes her into a nursing home. It's a drama that showcases a man dealing with the disease and the unexpected changes it would have as Grant (Gordon Pinsent) is forced to watch his wife Fiona (Julie Christie) become attached to another patient in Aubrey (Michael Murphy) whose wife Marian (Olympia Dukakis) also watches. For Grant, it's a hard pill to swallow as he deals with the new change in his life as it's a film that could've become a sappy melodrama. Instead, it's a film that is about the loss and the fear of that loss.

What Sarah Polley does with her script and direction goes for a meditative approach of a woman's disintegration as her husband is forced to watch her mind leave with her not remembering who she is half of the time. The script is wonderfully structured with the first act about the beginning of the end and Grant's first trip to the Meadowland facilities, the second is about him coming to terms about Fiona's relationship with Aubrey, and the third act is about her continuing disintegration through the disease.

The dialogue feels realistic that also includes text from many books read in the film while some of the words do end up being funny just to add a bit of humor to a very serious drama. The direction that Polley has taken is very observant and enchanting as she takes the camera to unveil a woman's disintegration where she would pull the camera away to dramatize its sadness. What is really amazing in Polley's approach to the film is how restrained the drama is since the actors are given more dimension while not being overly sentimental or very dramatic to emphasize the subject matter. While the film is a bit flawed due to a few pacing issues where the entire film does move very slow, it works to convey that sense of emotional, mental disintegration. Overall, Polley proves herself to be a very strong director who can channel a scene while not doing to much to convey heavy emotions.

Cinematographer Luc Montpellier brings a wonderfully dreamy look to some of the film's sequences at the Meadowlands while the rest is very intimate and colorful while the exterior shots is gorgeous with the white snow laid down on the Canadian film location. Production designer Kathleen Climie and art director Benno Tutter create a low-key look to the film's Meadowlands facility along with an intimate, earthy look to the home of Grant and Fiona. Costume designer Debra Hanson plays to the film's natural look with clothing that looks normal with the exception of a tacky, striped sweater and a yellow dress that Julie Christie wears that in the former, causes Grant to be upset.

Editor David Wharnsby brings a wonderful approach to the editing by not doing any stylized or fast-cutting but rather in playing with the film's structure to make the film play like memory of sorts which gives the film a unique feel and tone. Sound designer Jane Tattersall definitely adds a nice tone to the film's sound with the use of cars, elevators, and objects to convey the intimate feel of the Meadowlands where it's nearly silent as well as Grant and Fiona's home. Jonathan Goldsman brings a plaintive, subtle score of guitars and piano to convey the sadness and emotional intensity of the film to convey the tragedy while not overdoing it which definitely works in the film.

The film's cast is definitely wonderful assembled by Polley's brother John Buchan that includes memorable, minor performances from Nina Dobrev as a teenager bored by her holiday visit at the Meadowlands, Ron Hewat as an ex-sports announcer who still does play-by-play, and Angela Watson in a small role as a doctor. Wendy Crewson is excellent in her role as the Meadowlands supervisor by acting both professional and caring who reminds Grant of what he has to face. Kristen Thomson is wonderful as the very sympathetic nurse Kristy who bonds with Grant over Fiona while often reminding him that it's never easy to deal with loss. Michael Murphy is great despite having no dialogue and having to be in a wheelchair yet adds life through the facial responses he makes in the film. Olympia Dukakis is brilliant as Marian, Aubrey's wife who understands what Grant is feeling though she is a bit upset over what Fiona was doing to Aubrey while coming to terms over their relationship.

Gordon Pinsent is incredible in his performance as Grant. An icon known to Canadians, Pinsent's performance is wonderfully restrained and subtle as in some ways, he's the observer for the audience watching his wife becoming detached from him. Pinsent's tender chemistry with Julie Christie is wonderful to watch as if they're both a couple who have known each other for a long time. Julie Christie delivers a truly radiant performance as Fiona. Looking very beautiful for her age and almost youthful in some ways, Christie remains jaw-dropping with her performance as she brings subtlety and an innocence to her approach in playing a victim of Alzheimer's without being overly-dramatic.

Away From Her is a remarkable film from Sarah Polley that features great performances from Julie Christie and Gordon Pinsent. It's a film that is a very smart and engaging film for the way it explores the world of Alzheimer's disease without delving into heavy-handed melodrama. Especially as Polley balances it with being a love story and a story about loss. In the end, Away from Her is an extraordinary film from Sarah Polley.

Sarah Polley Films: Take This Waltz - Stories We Tell - Women Talking

© thevoid99 2014

Nashville

Originally Written and Posted at Epinions.com on 3/13/07 w/ Additional Edits & Revisions.

Directed by Robert Altman and written by Joan Tewkesbury, Nashville is a multi-layered story about different groups of people coming together for a country music convention where the world of politics and celebrity collide in the course of five day that leads to a climatic concert. The film explores the world of celebrity culture through a variety of stories that features more than 20 characters. With an all-star cast that includes Keith Carradine, Lily Tomlin, Shelley Duvall, Michael Murphy, Geraldine Chaplin, Henry Gibson, Ronee Blakley, Gwen Welles, Barbara Baxley, Ned Beatty, Jeff Goldblum, Allen Garfield, Scott Glenn, Elliott Gould, Julie Christie, and many more. Nashville is a superb, sprawling, yet eerie film from Robert Altman.

Replacement party candidate Hal Phillip Walker is set to appear in Nashville, Tennessee in the hopes to win another primary for the U.S. Presidency as a BBC news reporter named Opal (Geraldine Chaplin) is making a documentary about the city. Opal accidentally interrupts a recording session for country legend Haven Hamilton (Henry Gibson) as she meets his son Bud (Dave Peel) while she attends another session featuring gospel singers led by a local housewife in Linnea Reese (Lily Tomlin). Linnea's husband Delbert (Ned Beatty) has a meeting with Californian businessman John Triplette (Michael Murphy) while a mysterious man (Jeff Goldbum) arrives on a motor-tricycle where a cook named Wade Cooley (Robert DoQui) and waitress/aspiring singer Sueleen Gray (Gwen Welles watch). Another aspiring singer in Winifred Albuquerque leaves her husband Star (Bert Ramsen) at a traffic jam as Nashville is waiting for the arrival of famed country singer Barbara Jean (Ronee Blakley).

Delbert, Triplette, Haven, Bud, and Haven's mistress Lady Pearl (Barbara Baxley) are at the airport to meet Barbara Jean and her husband Barnett (Allen Garfield) while a soldier named Pfc. Glenn Kelly (Scott Glenn) watches while a folk trio named Bill (Allan F. Nichols), Mary (Cristina Raines), and Tom Frank (Keith Carradine) arrive to the city as does a woman known as L.A. Joan (Shelley Duvall) who meets her uncle Mr. Green (Keenan Wynn). Jean is sent to the hospital as many await to give interviews or to meet her as Mr. Green later gets a visit from musician Kenny Fraiser (David Hayward) asking to rent a room. Jean's appearance is canceled as everyone in town including African-American country singer Tommy Brown (Timothy Brown) play gigs all over the city while Linnea gets some strange calls from Tom Frank who sleeps around with some of the women in the city. Sueleen auditions for a man named Trout at a club where she passes the audition despite her poor vocal quality. At a show at the Grand Old Opry, Connie White (Karen Black) fills in for Jean who steals the show much to the dismay of Barbara Jean who is still at the hospital. With a big concert at the Parthenon still set, Bill and Mary's relationship is deteriorating as Triplette asks them to play.

Barbara Jean finally plays a show but the performance was shambolic making Triplette and Barnett worried if she will be involved for the big show. At a club later that night, Tom Frank reveals his vulnerability in a song called I'm Easy as Linnea watches while Sueleen attends the gig she received where it's revealed to be not what she expected. On the day Hal Phillip Walker arrives for the show, all of the people big and small in the past four day come together for the big moment where reality and tragedy collide.

Given upon the film's attitude towards idol-worship and politics, the timing couldn't have been any better for a film like Nashville. Even in today's view where whatever cynicism that had been growing in the mid-70s has only served as a reminder to today's harsh times. While a lot of credit should go to Altman for his improvisation, chaotic style in collaboration with his actors. Much of the credit should also go to screenwriter Joan Tewkesbury for telling this story of ordinary people including celebrities and political officers coming together in a place as American as Nashville.

A lot of the film reveals the kind of cynicism and disillusionment that came out of the 1960s. The character of Lady Pearl reveals these feelings when reflecting on her love for the Kennedys and her anger towards her own state for letting Richard Nixon win that state because they didn't want to vote for someone who is Catholic. A lot of the film's political overtones from the voice of P.A. guy talking about the candidate Hal Phillip Walker, who is never seen throughout the entire film.

It's not just politics that drives the course of this story, but also celebrity in which, you have some major celebrity figures in characters like Haven Hamilton, Barbara Jean, Connie White, and Tommy Brown. There's a scene in which the African-American Brown, based on the country singer Charley Pride, is called a racial slur, not by a white man but from one of his own. There's also a scene in where Barbara Jean starts to ramble where it shows the folly and downside of celebrity where it becomes a disappointment to somebody in the audience.

Largely because they're forced to see this iconic figure be something they don't want to see, human. Jean is an interesting character who starts to fall apart from the pressures of celebrity as well as the competition against rival Connie White. There's even a couple of walk-on cameo appearances from Altman regulars Elliot Gould and Julie Christie playing themselves intrigued by this event going on in Nashville.

The city itself is a major character since it's the melting pot of not just where country music is but also the place where Hal Phillip Walker hopes to win. There's a moment where John Triplette uses Nashville hoping to get more votes though he has no care for them. Right before the film's climatic concert, there's a scene of Triplette and Barnett arguing about political motives that revels in how a country has become unsure of their own future concerning the government. After this argument comes this tragedy that would foreshadow an event in the years to come. Plus, in this tragedy comes this wave of disillusionment, loss, and confusion. It is there that someone takes this tragic moment and tries to create something to get people together. This is where the genius of Robert Altman occurs.

Altman isn't concerned about politics, lifestyles, or the cult of celebrity but people, real people even if they're celebrities or political lackeys. Altman's observant yet improvisational direction proves that there's a lot of life in any part of a place like Nashville. Even in a scene where Opal goes to a car dump to prepare narration for her documentary as she is trying to figure out what to say. Altman shows the folly of humanity and how events can lead to surrealism. The character of Linnea Reese is a woman who is a loving mother and wife who cares for her deaf children while her husband is more distracted by this political event rather than paying attention to what his son is trying to say. Altman reveals the folly of people trying to follow something as confusing in politics and celebrity. The moments in the film are often filled with overlapping dialogue to convey the atmosphere of what is going on and where these people are. What are they reacting to or what are they thinking. Altman isn't trying to reveal any kind of answers rather than letting the audience themselves involved in what they think is happening. The result is a truly superb, sprawling direction from the late, great Robert Altman.

Cinematographer Paul Lohmann does excellent work in capturing the wonders that is Nashville from the Parthenon, the Grand Old Opry, and the clubs that make this place unique with its colorful, documentary-like camera work. Set decorator Robert M. Anderson also plays to the film's authentic look of the city with its intimate look for the clubs to the colorful, spacious home of the Reese family. Costume designer Jules Melillo does great work in creating the lavish costumes of the country singers as well as the laid-back clothes of the folk trio Bill, Mary, & Tom to the look of regular people. Editors Dennis M. Hill and Sidney Levin do great work in putting together the stories and characters together with some wonderful editing to move one story to another and see how they all relate to another. Sound editor William A. Sawyer along with Chris McLaughlin and James E. Webb also do amazing work with the sound to convey the sense of tension and atmosphere in the scenes that's happening, notably the way the music is captured.

With many of the actors including Altman contributing music to the film, the soundtrack is wonderfully memorable from the songs Ronee Blakley sings that is pure traditional country to the other songs by Karen Black, Henry Gibson, and Timothy Brown that shows the wonders of country in the 1970s. The musical performances are memorable with Gwen Welles doing a hilariously bad rendition of the songs she sings. Lily Tomlin also does some wonderful music while the real standout is Keith Carradine and his Oscar-winning song I'm Easy. The performance of It Don't Worry Me by Barbara Harris truly memorable while other songs features contributions from Richard Baskin and Gary Busey. It's one of the finest soundtracks ever assembled.

Then, we have the film's large, ensemble cast and it's truly filled with some of the most memorable characters assembled on film. From notable small performances from Gailard Sartain as a diner patron, screenwriter Joan Tewkesbury as the voice of Tom's lover and Kenny's mother, Howard K. Smith as a TV reporter, Merle Kilgore as Trout, composer Richard Baskin as a piano player named Frog, James Dan Calvert and Donna Denton as the Reese's deaf children, and cameos from Altman regulars Elliott Gould and Julie Christie as themselves. Notable small performances from Bert Remsen as Star, Jeff Goldblum as the tricycle man, and David Arkin as Norman are exceptionally memorable for their individual moments. Allan F. Nichols and Cristina Raines are also excellent as the bickering couple of Bill and Mary who are stuck in a tempting love triangle with band mate Tom. Gwen Welles is great as the naive dreamer Sueleen whose belief that she can sing is undermined by the fact that she can't until this moment of humiliation. Robert DoQui is also great as Gwen's friend who reminds her of her lack of talent despite his cynical attitude.

Karen Black is excellent as the bitchy, vain Connie White who has a nicer personality onstage but offstage, she's a mean, egotistical singer with little respect for Barbara Jean. Timothy Brown is also excellent in his brief role as the Charley Pride-inspired Tommy Brown while Scott Glenn is also good in his small role as a soldier who had a nice story about Barbara Jean. Barbara Harris gives a comical, memorable performance as a struggling singer named Albuquerque who is hoping for her own break where she has an amazing scene in the film's finale. David Hayward is also great as the mysterious Kenny who seems lost in the world he is surrounded by as a musician trying to find a place to fit in. Dave Peel is wonderful as the sweet, intelligent Bud Hamilton who enjoys the role of helping his father's business matters while aspires for something more. Allen Garfield is great as Barbara Jean's frustrated, caring manager who is trying to take care of his wife but couldn't deal with the way she's being used.

Keenan Wynn is wonderful as Mr. Green, L.A. Joan's uncle who is dealing with his wife's illness and his niece's single-minded personality. Shelly Duvall is wonderful as the loopy, icon-obsessed L.A. Joan who is more concerned about public events and icons rather than her own aunt. Barbara Baxley gives a wonderfully touching performance as the sweet yet cynical Lady Pearl whose loss of hope for politics reveal a dark anger to the way she reacts towards her own background. Henry Gibson is great as country legend Haven Hamilton who is trying to organize things while dealing with his own celebrity and his city's reputation. Ned Beatty is excellent as the neglectful Delbert Reese while Altman regular Michael Murphy is also great as the political lackey John Triplette, who makes an insulting comment on Nashville. Ronee Blakley gives a wonderful performance as the fragile yet enchanting Barbara Jean whose presence as a singer is wonderful to watch only to see her fall apart with her rambling.

Geraldine Chaplin is wonderful as the eccentric, loopy Opal who tries to create a story but isn't sure what to do while being selfish for her own gain. Altman regular Keith Carradine is great as the burned out, womanizing Tom Frank who has a great moment with his performance of I'm Easy. In her feature-film debut and first of many films for Altman, Lily Tomlin gives a phenomenal performance as Linnea Reese with her caring, conflicted woman who loves her children but tries to deal with her husband's neglect and her own role as a wife.

Nashville is a magnificent film from Robert Altman that features an outstanding ensemble cast and a captivating screenplay from Joan Tewkesbury. The film is definitely one of the great examples of what a multi-layered ensemble film should be as it doesn't lose sight on the big themes while allowing small moments to play out. It's also a film that is also not afraid to tackle big subjects that are more relevant than ever since its original release. In the end, Nashville is a tremendous film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

M.A.S.H.

Originally Written and Posted at Epinions.com on 3/4/07 w/ Additional Edits.

Based on the novel by Richard Hooker, M.A.S.H. is the story about an eccentric group of medical personnel working during the Korean War as they defy the world of the military and all sorts of authority. Directed by Robert Altman and screenplay by Ring Lardner, the film is an exploration into the world of military service and how some deal with their time. With an all-star cast that includes Elliott Gould, Donald Sutherland, Sally Kellerman, Robert Duvall, Bud Cort, Rene Auberjonois, Tom Skerritt, Fred Williamson, Roger Bowen, John Schuck, and Michael Murphy. M.A.S.H. is an absurd yet chaotic war-comedy from Robert Altman.

It's the Korean War as two surgeons named Hawkeye (Donald Sutherland) and Duke (Tom Skerritt) arrived onto base and steal a jeep to go the M.A.S.H. unit miles away from where the fighting is going on. They meet their superior, Lt. Col. Blake (Roger Bowen) along with Cpl. "Radar" O'Reilly (Gary Burghoff), Father "Dago Red" Mulcahy (Rene Auberjonois), and dentist Capt. "Painless Pole" Waldowski (John Schuck). While Hawkeye and Duke were drafted into the war, they reveal to be just ordinary guys that just want to help people. Unfortunately, they're forced to live in the same tent with the religious, tough Major Frank Burns (Robert Duvall). Going on with their business in surgery and flirting with nurses including Lt. "Dish" Schneider (Jo Ann Pflug), Hawkeye finds a new partner in arriving surgeon in "Trapper John" McIntyre (Elliott Gould).

Trapper John doesn't like the way things are run, especially when Burns blames the death of a patient on an orderly named Private Boone (Bud Cort). Trapper John responds to Burns' attitude by punching him just as new head nurse Major Margaret O'Houlihan (Sally Kellerman) arrives. O'Houlihan's arrival only increases Trapper John and Hawkeye's battle against authority. When they learn that O'Houlihan is having an affair with the married Burns, they learn her nickname to be "Hot Lips" as the medical personnel decide to play a prank on them. After getting Burns into the hot seat, John and Hawkeye continue to work on their wily ways while getting help from their Korean assistant Ho-Jon (Kim Atwood). When Hawkeye learns that Painless Pole is dealing with a problem that reveals that he's not a Don Juan, he finds a solution that will help him as the entire personnel including some reluctance from Dago Red, get involved. After another prank that involved Hot Lips, Hot Lips threatens to resign to Col. Blake.

When John and Hawkeye continue their wild ways, they learn that they can go to Japan to help operate on the son of a congressman. Still, dealing with the authority, Hawkeye and John continue to break the rules as they demand for some food and time to play golf and meet women with the building's doctor Capt. "Me Lay" Marston IV (Michael Murphy). Returning from Japan, they learn that General Hammond (G. Wood) wants to challenge Col. Blake for a football match with his unit. The rowdy personnel including Hot Lips decide to get a ringer named Spearchucker (Fred Williamson) for help to win some money. There, the general is forced to see for himself what the M.A.S.H. unit is really all about.

While films about war often show different sides of what goes on and off the battlefield. Robert Altman chooses to go outside of not just the battlefield but the conventions of war films by making not just an anti-war film but also anti-military. There's not a lot of mention of what was going on in the Korean War but rather as an allegory of sorts about Vietnam and its intentions. So, Altman chooses to explore the military in all of its absurdity and find characters that audiences can relate to. Then there's the story or rather... the lack of a story and plot. Still, Altman chooses to make fun of these things and defy authority through the film's central characters and supporting roles.

While the screenplay and story revels on what it was like working in the M.A.S.H. unit, it's really about a few, ordinary men trying to do their jobs and live their life while trying not to be pushed by their authority figures. Conflict is an important part of the film as characters such as Hawkeye and Trapper John duke it out with anyone like the mean Frank Burns who blames patients deaths on interns or Hot Lips for her strict guidelines. Yet, Altman's direction that is filled with chaos, overlapping dialogue between characters, and scenes that included more than two people in a frame. This became known as the Altman style and it feels very real to its audience where everyone from the big lead to a supporting player gets to have their moments. While the film incorporates a lot of style into this war comedy that includes a lot of low-brow humor and a football game in the end. To the casual film goer, it seems like one too many genres in a film yet Altman makes the film consistent through its irreverent humor where as a result, it's a no-holds-barred, witty comedy about war and the little people involved.

Cinematographer Harold E. Stine does excellent work in capturing the surreal, worldly look of the army bases and cities that the M.A.S.H. unit visit. Art directors Arthur Lonergan, Jack Martin Smith, and Michael Friedman also do excellent work in creating the tents and quirky look of the camps as well as some of the Japanese bases and sushi restaurants. Editor Danford B. Greene does excellent work in bringing rhythm and style to the film's editing with some perspective cuts as well as playing to the film's humor. Sound mixers Bernard Freericks and John D. Stack do great work on the sound to convey the atmosphere and mood of the scenes and settings they're in. Composer Johnny Mandel brings a comical film score to the film while the famous song Suicide Is Painless by Mandell and lyrics by then 14-year old Mike Altman is wonderfully funny ballad about one of the film's characters.

Then there's the cast which is very important to any Altman film. Notable small yet memorable performances from G. Wood, Kim Atwood, Indus Arthur as Col. Blake's mistress, Bobby Troup as Staff Sgt. Gorman, Cathleen Cordell as the head nurse in Japanese base, Danny Goldman as Cpt. Murrhardt, Corey Fischer as Cpt. Bandini, and in their film debuts, Fred Williamson as Spearchucker and Bud Cort as an intern. The voice of Sal Viscuso is very memorable for all the information he reveals about what movies are playing and such. Other small performances from Altman regulars Michael Murphy and Rene Auberjonois are wonderfully memorable for the brief scenes they're in while series regular Gary Burghoff is funny as Radar. Jo Ann Pflug is excellent as the nurse Lt. "Dish" Schneider while John Schuck gives a great performance as Painless Pole. Roger Bowen is wonderfully funny as the leading authority figure Lt. Col. Blake with his own quirky ideas about leading a unit.

Though he's known for dramatic roles, Robert Duvall is given to do a bit of comedy as the insane, religious Frank Burns. Duvall is great in willing to play a comic foil who takes himself too seriously and is willing to compromise his own beliefs. Sally Kellerman is wonderfully funny as another comic foil in Hot Lips with her hysterical behavior after her humiliating moments and her cheering as a cheerleader. Kellerman is very funny in the role that is definitely memorable. Tom Skerritt is also great as Duke with his mischievous ways and love for dope and Hot Lips. Donald Sutherland gives a wonderfully laid-back, funny performance as the easy-going Hawkeye who likes to flirt and cause trouble. Altman regular Elliott Gould is also extremely funny as Hawkeye's partner-in-chaos Trapper John with his hatred for authority and willingness to cause chaos. Gould and Sutherland really own the film by just adding memorable moment and one-liners after another.

M.A.S.H. is an off-the-wall yet extremely hilarious film from Robert Altman. Armed with a great ensemble cast and biting themes on war and authority, it is definitely one of the great films about military service. Notably as it isn't afraid to poke fun at the dark side of dealing with death and such. For those new to Robert Altman, this film is definitely one of the best places to start. In the end, M.A.S.H. is an incredibly funny film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - Gosford Park - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

Manhattan

Directed and starring Woody Allen with a script written by Allen and Marshall Brickman, Manhattan is the story of a comedy writer in his 40s who dates a 17-year old as he falls for his best friend‘s mistress. The film is an ode to Allen’s love of European cinema while maintaining his own brand of neurotic humor set into a stylish romantic comedy-drama. Also starring Diane Keaton, Mariel Hemingway, Meryl Streep, Michael Murphy, and Anne Byrne. Manhattan is an evocative yet witty film from Woody Allen.

Isaac Davis (Woody Allen) is a comedy writer trying to write his first novel as he spends part of his time dating a 17-year old drama school student named Tracy (Mariel Hemingway). While going out with Tracy and his friends Yale (Michael Murphy) and Emily (Anne Byrne) where Yale secretly reveals to Isaac that he’s met another woman at a party he wants Isaac to meet. Isaac is already dealing with a book his ex-wife Jill (Meryl Streep) is about to release that includes candid details about their marriage as she’s become a lesbian. Isaac meets Yale’s lover Mary Wilke (Diane Keaton) as their first meeting doesn’t go off well due to Mary’s snobbish comments about art and Ingmar Bergman. The two would meet again at an Equals Rights Amendment party where the two begin to start a friendship.

While Isaac continues to date Tracy and hang out with Mary, Tracy reveals she’s going to London to study acting as they move into a new apartment together that turned out to be a bad idea. Isaac’s growing attraction to Mary rises as her relationship with Yale is starting to fall apart. Isaac decides to make his move towards Mary and break-up with Tracy so he can get his chance to win over Mary. At a holiday with Yale and Emily, Isaac thinks he has everything going for him until Mary reveals some news that would devastate him.

The film is about a comedy writer’s love life as it is complicated by the appearance of his friend’s mistress whom he falls for. That’s pretty much a simple summation of the plot as it also explores a man who is struggling to find some idea of love at a place he loves that is also starting to change. The screenplay that Woody Allen and Marshall Brickman creates is a study of a man trying to juggle his love life while is also dealing with what his ex-wife will reveal in an upcoming book. The script is also very loose in its approach to narrative and dialogue as it allows Allen to create a story where it reflects on a man’s love for not just women but New York City itself.

Allen’s direction is truly mesmerizing in the way he captures New York City as a place of beauty of as if it is presented at a different time. Shot entirely in black-and-white, the film adds a beauty that is very timeless to its look as well as atmosphere where it could’ve been told in a different time yet things are also changing as the city is a character in the film. With these amazing tracking shots for scenes where Isaac would often run around the city or he takes Tracy or Mary to museums to look at art. The way Allen allows the 2:35:1 theatrical aspect ratio for widescreen gives him a lot of room to breathe and widen his compositions. Notably as he uses that framing device to create these gorgeous shots of the cities including shots of the NYC freeway to capture the feel of the movement that occurs. The overall work Allen does in the film is truly outstanding as it is one of his key work in his revered career.

Cinematographer Gordon Willis does a brilliant job with the film‘s black-and-white cinematography that adds a truly lush yet stylish look to the film such as the dark scene where Isaac and Mary walk into a room full of planets. The approach to lighting is exquisite in the way that scene is shot while the nighttime and the famous Queensboro bridge shot have an air of beauty that really defies description. Editor Susan E. Morse does a fantastic job with the editing as she employs stylish rhythmic cuts and fantastic montages, such as the opening and closing scenes, to create a dazzling array of images of New York City. Production designer Mel Bourne and set decorator Robert Drumheller does an excellent job with the set pieces created such as the apartment Isaac stays in with Tracy early in the film as well as the shabby new one he gets in the second act along with the set piece of the planets that is a joy to watch.

Costume designer Albert Wolsky does a nice job with the costumes as it‘s mostly kept casual for the characters with Tracy sporting a more youthful and mature look while Mary has a more refined yet quirky look to her wardrobe. Sound editor Dan Sable does a terrific job with the sound to capture the raucous energy of the city as well as the intimacy of some of the interior location that occurs. The soundtrack largely consists of the music of George Gershwin, notably Rhapsody in Blue, as it plays to emphasize the sense of drama and fantasy conveyed throughout the film.

The casting by Juliet Taylor is superb as it includes some appearances from famed NYC politician Bella Azbug as well as Karen Allen and David Rasche as TV actors that Isaac works at. Other notable small roles include Wallace Shawn as Mary’s ex-husband, Karen Ludwig as Jill’s girlfriend Connie and Damion Scheller as Isaac and Mary’s son. Meryl Streep is very good as Isaac’s ambitious ex-wife Jill as is Anne Byrne as Yale’s kind wife Emily who enjoys the presence of the young Tracy. Michael Murphy is stellar as Isaac’s friend Yale who is trying to juggle his own affairs as he becomes desperate over his relationship with Mary to be more than just an affair.

Mariel Hemingway is wonderful as the young Tracy who enjoys Isaac’s company and his wisdom while wanting to prove something to herself as Hemingway displays a great maturity to her character which includes a very devastating break-up scene. Diane Keaton is excellent as the culturally-interested Mary who befriends Isaac as she becomes fascinated by him and New York City as she brings a calm sense of humor and understated approach to drama to her character. Finally, there’s Woody Allen in a fantastic performance as Isaac. While it’s another variation of his nebbish character, it does give Allen the chance to create a character who is trying to find love and often do things while his approach to humor is more restrained than usual as it’s one of his finest performances.

Manhattan is a rich and enjoyable film from Woody Allen as it features an outstanding ensemble that includes Diane Keaton, Mariel Hemingway, Meryl Streep, and Michael Murphy. For anyone that is into the works of Woody Allen, this film is pretty much essential while it’s also one of his best work. For newcomers, it’s a worthy introduction to what he’s able to do as a filmmaker rather than as an actor. In the end, Manhattan is spectacular and intoxicating film from Woody Allen.

Woody Allen Films: What’s Up, Tiger Lily? - Take the Money & Run - Bananas - Everything You Always Wanted to Know About Sex (But Were Afraid to Ask) - Sleeper - Love & Death - Annie Hall - Interiors - Stardust Memories - A Midsummer Night’s Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories-Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows & Fog - Husbands & Wives - Manhattan Murder Mystery - Don't Drink the Water - Bullets Over Broadway - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet & Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra’s Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Magic in the Moonlight - Irrational Man - (Cafe Society)

The Auteurs #24: Woody Allen: Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2012